Art by Medium: Dye

Resin cast geodes in cracked marble in a wooden frame by Paige Smith. This piece measures 18in x 18in, with a depth of 1-5/8in. Paige Smith AKA A Common Name, is a multi-disciplinary artist and designer who lives and works in Los Angeles, CA. Smith is most notable for creating “Urban Geode,” a street art series of sculptures that resemble geodes, made entirely of paper and resin casts. Always interested in geology, Smith started to notice the nooks and crannies in the sides of buildings, walls, and abandoned phone booths within her community of the Historical Arts District (in Los Angeles). Seeing this as an opportunity to create, Smith took street-art to a whole new level. Since beginning the project, she has created large-scale installations for well-known brands such as The Standard, Hollywood; The Viper Room...

The Weight of Transparency by Sedef Gali 2025 Dye and Acrylic on Canvas 65" × 49.2" Sedef’s artistic practice is deeply influenced by her upbringing in cities characterized by di...

Silent Forms 130, 210 & 240 is a set of photographs by contemporary artist Bruno Fontana. This set was created in the dye-sublimation printing on brushed aluminium technique. Th...

High Jumper 2021 Signed and numbered on label, verso Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) 32 x 24 inches $4,500, including framing This wo...

Silent Forms 140 is a limited-edition photograph by contemporary artist Bruno Fontana. This photograph was created in the dye-sublimation printing on brushed aluminium technique. Th...

Collage, dye, oil and wax on linen This artwork is offered by ClampArt, located in New York City. Carl James Ferrero is an artist whose experimental paintings, drawings, collages an...

"Coyote Wreath" By Johanna Mueller is a unique and detailed piece which depicts a coyote, curled among iconography of the forest, structured in a Native American style flat ink style...

Jean-Marie Guyaux’s artworks are unique for their blend of digital capture and non-photographic software. In the “Redux” series, he reinterprets classic masterpieces, projecting thes...

Jean-Marie Guyaux’s artworks are unique for their blend of digital capture and non-photographic software. In the “Redux” series, he reinterprets classic masterpieces, projecting thes...

Jean-Marie Guyaux’s artworks are unique for their blend of digital capture and non-photographic software. In the “Redux” series, he reinterprets classic masterpieces, projecting thes...

Silent Forms 150 is a limited-edition photograph by contemporary artist Bruno Fontana. This photograph was created in the dye-sublimation printing on brushed aluminium technique. Th...

Silent Forms 120 is a limited-edition photograph by contemporary artist Bruno Fontana. This photograph was created in the dye-sublimation printing on brushed aluminium technique. Th...

Silent Forms 270 is a limited-edition photograph by contemporary artist Bruno Fontana. This photograph was created in the dye-sublimation printing on brushed aluminium technique. Th...

This is a one of a kind original mixed media (Antique silk paper, dye, paint, plexiglass, silk) painting depicting beautiful yellow Gingko leaves against abstract background by Calif...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

Mixed media (linen, light sensitive dye, polyfil, dryer lint, thread)

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

“Marshall JMC 800” is a powerful statement piece from Scott McDermott’s celebrated Backline series—a visual love letter to rock-and-roll culture. This ...

This drawing by Austin Reavis is from a series of abstract works that build lines and forms, suggestive of construction elements, as a foreground to chan...

PedalBoard Grid, Backline Series Dye sublimation on aluminium, flush mounted 36.5 x 40 inches / 93 x 102 cm Edition of 12 Scott McDermott’s PedalBoard Grid transforms the raw energy...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

The Sun Inside by Sedef Gali 2023 Dye, Ink, and Acrylic on Canvas 84.6" × 104.3" Sedef’s artistic practice is deeply influenced by her upbringing in cities characterized by diver...

"Veiled Knots" (2019) by Jacie Jane Embroidery and fabric dye on embroidery canvas Snakes intertwined and palm leaves in earth tones, neo-folk Whimsical Design / Embroidery / Earth Tones / Biomorphic / Sustainable Design

Celadon 4 continues Chloe Hedden’s exploration of form and material in her Fold Series, where hand-dyed linen becomes both subject and medium. In this piece, a large, sculptural fold...

Accumulation by Sedef Gali 2023 Mix Media on Canvas 63" × 35.4" Sedef's artistic practice is deeply influenced by her upbringing in cities characterized by diverse cultures. Her ...

This two panel stretched and dyed rubber piece was created by American contemporary artist John Drummer in the early 2000's. This work was featured in the exhibition "Jack Drummer" organized by BT&C Gallery and which coincided with the Burchfield Penney Art Center's exhibition "The Effects of Time". This is currently the only work available for acquisition. The Burchfield Penney exhibition that featured these rare pieces was voted one of the best 10 exhibitions that year in ArtForum's 2016 Top Ten by Matthew Higgs, who would later curate an exhibition of Drummers work for White Columns gallery that was reviewed by Art in America in 2017. John E. (aka “Jack”) Drummer (1935-2013) was an itinerant and mercurial figure. Self-taught as an artist, his earliest works from the late 1950s and early 1960s were included in several key exhibitions in Buffalo and New York City, including the first of Allan Kaprow’s legendary ‘New Forms, New Media’ exhibitions that he curated for Martha Jackson’s gallery in 1960. Drummer’s 1962 solo exhibition at the Gordon Gallery, New York received a rapturous review from critic Brian O’Doherty in The New York Times, who praised Drummer for his ability to “make something out of nothing”, describing his work from this time as “screens for the imagination,” a notion that could equally be applied to his later works on view at White Columns in a 2017 solo exhibition. Despite this early success, Drummer would soon leave New York City, returning initially to Buffalo, before moving to New Orleans and then California, before eventually settling in Hawaii. Very little of Drummer’s early work has survived, including almost none of the 300-odd, often large-scale, styrofoam-based sculptures he produced in Hawaii. On returning to his home-town of Buffalo in the early 1980s, Drummer would embark on an extraordinary body of work that would preoccupy him for the next two decades. Drummer’s late work is clearly related to, and expands upon, the histories of minimal, post-minimal and process-orientated art. His approach is empathetic with that of the Italian Arte Povera artists, sharing their interest and investment in ‘poor’ and quotidian materials. Working almost exclusively with ‘found’ materials, and specifically materials that had previously been employed and subsequently discarded in industrial and manufacturing processes, Drummer’s work of the 1980s-early 2000s was largely overlooked and unexhibited during his lifetime. Drummer’s late works employ the rubber ‘blankets’ – used in offset printing to remove excess ink during the printing process – as supports. These ‘ready-made’ supports often revealed aspects of their ‘histories’: their surfaces are typically marked with ghostly images and texts resulting from the printing process. Drummer would then work directly onto and into these ‘pre-prepared’ supports. Drummer’s late works often incorporate impressions taken directly from the surfaces of walls, floors, and fencing, etc. – ‘images’ created by laying the rubber sheets face down onto a desired surface, and then applying pressure from the back of the sheet to create a subsequent negative impression or image of that surface, likely a physically demanding process, akin to making a ‘brass rubbing...

The work "Hummingbird and Hibiscus" was made on atlas. Cold batik. “Thin brush” or “graceful drawing” technique. "...When the heat of the day has already subsided, you can enjoy the...

Garden Blooms No. 5 is a botanical collage artwork created with Hand Cut dyed and painted paper by Deborah Weiss. The artwork is 22x22. It is framed to 25x25. It is a one of a k...

Scott McDermott – “Single Ampeg” From the Backline series, 2023 Dye sublimation on aluminum, flush mounted 40h x 40w x 2d inches (102h x 102w x 5d cm) ...

Margie Hughto Orchid & Red, 1983 Dyed Handmade paper Hand signed and dated by the artist on the lower right front. Titled on the back. Unique Frame Inclu...

Abstract Handmade Hanji paper. artists signed and dated lower right corner. The Yuns have created, in their works, a unique alchemy of ancient Asian techniques and more modern Wester...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Woodland Blooms No. 1 is a botanical collage artwork created with Hand Cut dyed and painted paper by Deborah Weiss. The artwork is 28 x 22. It is framed to 29x23. It is a one of...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments of fabric, scrolls, drawings, and books collected during his travels. This kite entitled "Boro" is patterned with Japanese indigo-dyed fabric scraps, sewn together to form a patchwork of contrasting patterns and shades of blue. The kite's design recreates the traditional practice of Boro stitching...

Melting Memories by Sedef Gali Represented by Tuleste Factory 2024 Pigment Dye, Acrylic on Canvas 72" x 64" Sedef’s artistic practice is deeply influenced by her upbringing in c...

She Came and Left Us Flowers by Sedef Gali Represented by Tuleste Factory 2023 Pigment Dye, Charcoal, Acrylic on Canvas 81.5" x 71.5" Sedef’s artistic practice is deeply influen...

Sun Rises From the West by Sedef Gali Represented by Tuleste Factory 2024 Pigment Dye, Acrylic on Canvas 54.5" x 31" Sedef’s artistic practice is deeply influenced by her upbrin...

Sun Rises From the West by Sedef Gali Represented by Tuleste Factory 2024 Pigment Dye on Canvas 58" x 36.5" Sedef’s artistic practice is deeply influenced by her upbringing in c...

Memoirs of the Wind by Sedef Gali Represented by Tuleste Factory Pigment Dye, Acrylic on Canvas 49" x 37" Sedef’s artistic practice is deeply influenced by her upbringing in citi...

Dream Circus by Sedef Gali 2025 Pigment Dye, Mixed Media On Canvas 59" × 29.5" Sedef’s artistic practice is deeply influenced by her upbringing in cities characterized by diverse...

dye on paper

dye on paper

dye, colored pencil & gouache on paper

New Forms Of Love by Sedef Gali 2024 Oil, Dye, and Charcoal on Canvas 92.5" × 69" Sedef's artistic practice is deeply influenced by her upbringing in cities characterized by dive...

Large Vertical Dark Green Abstract Painting Acrylic and Oil on Hemp Canvas Nature Inspired Abstract Forest Painting Contemporary Artwork Dimensions: Height: 39.38 in (100 cm)Width: ...

New Realms and Tidal by Sedef Gali 2024 Oil, Acrylic, and Pigments on Canvas 59" × 65" Sedef’s artistic practice is deeply influenced by her upbringing in cities characterized by...

Fruity Pebbles by Sedef Gali 2024 Oil, Dye, and Charcoal on Canvas 90.6" × 69" Sedef’s artistic practice is deeply influenced by her upbringing in cities characterized by diverse...

Ink on Jang-Ji paper, dye, pigment & Ottchil on panel Hyun Deok-Sik is a Korean artist born in 1979 who lives and works in Jeju Island, South Korea. He is graduated from the departm...

Medium: Charred and dyed basswood As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visu...

Big Blooms No. 7 is a botanical collage artwork created with Hand Cut dyed paper by Deborah Weiss. The artwork is 28x22 and is in a white frame. The fr...

Racquets 2021 Signed and numbered on label, verso Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) 32 x 24 inches $4,500, including framing This work ...

Carl 2021 Signed and numbered on label, verso Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) 32 x 24 inches $4,500, including framing This work is o...

Oranges Drop Blossoms Tear 2021 Signed and numbered on label, verso Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) 32 x 24 inches $4,500, including f...

Prrrrince 2021 Signed and numbered on label, verso Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) 32 x 24 inches $4,500, including framing This work...

Power Division Corruption Joy Lies Fact 2021 Signed and numbered on label, verso Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) 32 x 24 inches $4,500...

Collage, dye, oil and wax on linen This artwork is offered by ClampArt, located in New York City. Carl James Ferrero is an artist whose experimental paintings, drawings, collages an...

"Red Rabbit Wreath" By Johanna Mueller is a unique and detailed piece which depicts a jumping desert rabbit, surrounded by iconography of the plains desert, structured in a Native Am...

Watercolor on Arches paper

Mixed media (linen, light sensitive dye, polyfil, dryer lint, thread)